我尝试新事物。我将发布一系列免费的水彩演示我使用教一个班的初学者。我的照片每个阶段和电子邮件适当的图片到我的学生在每次上课前。这是我们的参考照片在一个高的关键,以避免背景洗,有时构成挑战,初学者。
步骤1
第一步是让图像在纸上。因为没有我的学生有任何绘图经验我得到他们马上通过为他们提供一个全尺寸的黑白图像跟踪的目的和一张转印纸。然后他们用5重新画了这h铅笔来保持一个微弱但清晰的图像。我将合并为他们绘画课我们去,但我认为重要的是让人们出于专注于绘画技术和早期的结果。我们生活在一个即时满足的时代,我发现初学者得到迅速激发并保持他们一旦让自己能做的事没有花费几周的学习如何绘制。
我也介绍了他们的技术屏蔽让他们保护与液体misket茎作为一个学习经历。
步骤2
使用这些循序渐进的图像显示在我的笔记本电脑我再涂这个项目与我的学生们一起,他看我做的每一步,然后自己尝试相同纸。我们开始于一个洗Aureolin的黄色,带着些许的棕色茜草。很快为什么茎需要保护在写实绘画这种. .
步骤3
我鼓励我的学生实验在一张废纸,我们才能把任何实际的颜色在他们的完成项目。这是我们如何做,它给了我这个机会来展示我们如何将“提升”亮点之后,而不是通过使用misket光秃秃的白色液体。
步骤4
我们开始通过应用洗的带着一丝暗红棕色茜草,我用画笔跟随轮廓的苹果(参见图12)。在我脱离一个突出揭示黄洗下面。
步骤5
我添加了一层我们交流和BM和开始工作在茎区。
步骤6
我添加了一层我们交流和BM和开始工作在茎区。
步骤7
更洗层和一些修补显示在一个循序渐进的,我们填了干细胞的竣工第一苹果,除了最后强调。因为我们是一个小团队我能很快和谁在一对一的麻烦,尽管我试着远离他们尽可能实际痛
步骤8
现在为下一个苹果。我赶紧添加这不是唯一的方法对初学者来说,油漆苹果。有些人可能希望保持所有方面的绘画会在同样的时间,和不关注我,但有些初学者找到这恐吓和感觉更舒适的解决问题当他们离去。
步骤9
因为我有一个有限的经验的初学者类的刷控制我决定我们需要保护的外缘的RH苹果为了不失去锋利的区分这两个。在这里我展示如何使用结束的小刷子刷misket保存您的液体为更精细的工作。
第十步
我使用相同的基本洗的带着一丝暗红棕色茜草放在第一个洗在第二个苹果。我离开了一些反射光在韩侧。
步骤11
在这里我已经表明下一层洗继续符合苹果的轮廓。我无法拍摄的每一步这是我不得不把边缘很快所以他们没有干出来。在我实际的演示,我可以显示出操纵色彩有助于定义苹果的形状。任何偶然的笔触显示通过帮助定义形状。
步骤12
在应用两个颜色的稳定性与一些起重代表洗反射的光,我使用了相同的技术,提升亮点在LH苹果和油漆在茎的保护液misket后删除。然后我删除了防护液misket从RH苹果显然显示分离的两个苹果。这是有利于我的类的初学者谁尚未掌握熟练要求迅速漆在LH苹果洗,避免运行到RH形象。
步骤13
我已经解释了,我不希望我的初学者必须应付一个背景洗在这个阶段,所以我建立了一个高强度的照片和简单的阴影来锚定苹果到基地。我们所有人带来的影子有些悲伤,我不得不承认我的演示阴影远非完美,但它让我意识到即使是最有经验的学生在美国遭到惨败偶尔。这里是第一个使用湿在湿洗边缘融合。我们使用一个混合的安特卫普蓝色和棕色茜草给是一个凉爽的灰色。
步骤14
下一步有点泥泞,不得不被混合了后阶段。
步骤15
使用有点灾难作为一个学习经历我很快将在最后的黑暗的影子在苹果和混合整个用清水和一个1/2 "刷成一个光滑广场毕业的影子。
原文如下：
I’m trying something new. I’ll post a series of free watercolor demos I use to teach a class of beginners. I photograph each stage and e-mail the appropriate images to my students prior to each class. Here is our reference photograph in a high key to avoid background washes which sometimes poses a challenge to beginners.
Step 1
The first step was to get the image on paper. Because none of my students had any drawing experience I got them going right away by supplying them with a full-sized B&W image for tracing purposes and a sheet of transfer paper. They then re-drew this with a 5H pencil to keep a faint but clear image. I’ll be incorporating drawing lessons for them as we go, but I feel it’s important to get people motivated by concentrating on painting techniques and early results. We live in an age of instant gratification and I find that beginners get quickly motivated and stay that way once they amaze themselves with what they can do without spending weeks learning how to draw.
I also introduced them to the techniques of masking by having them protect the stems with liquid misket as a learning experience.
Step 2
Using these step-by-step images displayed on my laptop computer I re-painted this project along with my students, who watched me do each step and then tried the same on their own paper. We began with a wash of Aureolin yellow with a touch of Brown Madder. It soon became apparent why the stems needed protecting in a realistic painting this sort..
Step 3
I encouraged my students to experiment on a piece of scrap paper before we put any actual colour on their finished project. Here’s how we did that, and it gave me the opportunity to show how we would “lift” the highlights later, rather than have stark white by using liquid misket.
Step 4
We began by applying a wash of Alizarin Crimson with a touch of Brown Madder, and I used the brush to follow the contour of the apple (see also Image 12). The I lifted out a highlight to reveal the yellow wash underneath.
Step 5
I added another layer of our AC and BM and began work on the stem area.
Step 6
I added another layer of our AC and BM and began work on the stem area.
Step 7
More wash layers and some tinkering to show in a step-by-step, and we filled in the stem for completion of our first apple, except for the final highlights. Because we are a small group I’m able to quickly work one-on-one with anyone in trouble, although I try to stay off their actual paining wherever possible
Step 8
Now for the next apple. I hasten to add this is not the only way for beginners to paint apples. Some people may wish to keep all aspects of the painting going at the same time and not concentrate as I have, but some beginners find this intimidating and feel more comfortable solving problems as they go.
Step 9
Because my beginners class had a limited experience of brush control I decided we needed to protect the outer edge of the RH apple in order not to lose the sharp distinction between the two. Here I’m showing how to use the end of a small brush to save your liquid misket brushes for finer work.
Step 10
I used the same basic wash of Alizarin Crimson with a touch of Brown Madder to put in the first wash on the second apple. I left some reflected light on the LH side.
Step 11
Here I’ve shown how the next layer of wash goes on conforming to the contours of the apple. I was unable to photograph each step of this as I had to blend the edges quickly so they didn’t dry out. During my actual demonstration I was able to show how manipulating the colour helps to define the apple’s shape. Any accidental brush strokes which showed through helped to define the shape.
Step 12
After applying two more bacic colour washes with some lifting to represent reflected light, I used the same technique to lift out the highlights on the LH apples and paint in the stem after removing the protective liquid misket. I then removed the protective liquid misket from the RH apple to clearly show the separation of the two apples. This was helpful for my class of beginners who had yet to master the dexterity required to quickly paint in the LH apple washes and avoid running over into the RH image.
Step 13
As I’ve explained, I did not want my beginners to have to cope with a background wash at this stage, so I set up a high intensity photograph with simple shadows to anchor the apples to the base. The shadows caused us all some grief and I had to admit my demo shadows were far from perfect, but it made my students realize even the most experienced among us come a cropper once in a while. Here is the first wash using wet-in-wet to blend the edges. We used a mixture of Antwerp Blue and Brown madder to give is a cool gray.
Step 14
The next step got a little muddy and had to be blended with later stages.
Step 15
Using a bit of a disaster as a learning experience I quickly put in the final darkened shadow under the apples and blended the whole with clear water and a 1/2″ square brush into a smoother graduated shadow.
